Ce travail se fonde sur la littérature critique existante sur les drones militaires, des études de cas et le travail de Michel Foucault sur le biopouvoir pour mettre en évidence les ressorts du pouvoir immunitaire. Nous cherchons à définir la logique immunitaire et à montrer ses ramifications en utilisant une de ses incarnations : les avions sans pilote utilisés à des fins militaires pour la surveillance et le bombardement par les États-Unis notamment. Ce travail analyse principalement les relations de pouvoir auxquelles sont soumis les corps dans l’assemblage. Si les travaux actuels ont insisté sur la place du corps du pilote de drone, ou opérateur, dans l’assemblage disciplinaire, notre étude des corps au sol comme partie intégrante du dispositif homme-machine met en évidence une logique constitutive du nous et du eux. La souveraineté est en effet le mécanisme qui fonde un groupe sur le commun, en excluant les autres, et qui trace ses frontières sur le principe de préservation de ce groupe. Ces frontières peuvent être celles d’un État, du monde occidental, mais aussi de certains quartiers, dans les villes, plus rentables que d’autres. Ce souci de préservation d’une communauté va aller de pair avec le développement d’un racisme institutionnalisé servant à organiser les vies à protéger et celles qu’on peut abandonner et même, et c’est pour cela que le pouvoir immunitaire superpose biopouvoir et pouvoir souverain, à éliminer si l’on estime qu’elles posent une menace. / This work draws on the existing critical literature on drone warfare, case studies and Michel Foucault’s work on biopower to highlight how immunity unfolds. I seek to define immunity by using one of its embodiments: pilotless devices used in contemporary conflicts for surveillance and bombing, mostly by the United States. This work mainly analyses the power relations to which the bodies that form the drone assemblage are subjected. If current analyses have insisted on the position of the drone pilot, or drone operator, in the disciplinary assemblage, my focus on the bodies on the ground as an essential part of the man-machine apparatus shows a way of constituting us and them. Sovereignty is indeed the mechanism by which a group constitutes itself on what they have in common, excluding others, and which confuses its borders with the principle of preservation. These borders can be those of a State, of the western world, but also of some city neighbourhoods. This obsession with community preservation is going to develop in parallel with institutionalised racism, which serves to organise lives which must be protected and those which can be abandoned and even killed if considered a threat. This is why I argue that biopower and sovereign power overlap in immune power.

Uppsatsen analyserar hur främlingskap framställs i tre av Roberto Rossellinis filmer, ”Stromboli”, ”Europa ´51” och ”Viaggio in Italia”. Utgångspunkten är sociologi med inriktning på främlingskap där syftet är att avtäcka hur främlingen i varje film skildras, vad som utgör främlingskapet, om det löses och i så fall hur.  I min analys har jag tillämpat tematisk och narrativ analys av filmerna, vilka ställts i relation till uppsatsens teoretiska utgångspunkter utifrån Georg Simmel, Zygmunt Bauman, Julia Kristeva och Janet Wolff. Studien visar hur främlingskapets olika aspekter berörs och hanteras i filmerna. Klass, kultur och kön är tre avgörande och genomgående faktorer som frambringar främlingskap. Inledningsvis är huvudkaraktärerna en del av främlingskapet, men en medvetenhet väcks och en transformering av dem och deras relationer till de andra börjar. Främlingskapets lösningar finns i en aspekt som binder filmerna samman, nämligen religionen. Den hjälper huvudkaraktärerna att konfrontera det främmande hos dem själva och därmed avlägsna det som skrämt dem i mötet med den andre.

Roberto Gerhard was a twentieth-century Spanish composer known for his unique treatment of the twelve-tone system. A student of the Spanish nationalist composer, Felipe Pedrell in Barcelona and also a pupil of Arnold Schoenberg in both Vienna and in Berlin, Gerhard's musical trajectory led to a synthesis of these disparate compositional traditions. In this dissertation I will explore the development of Gerhard's compositional procedures. Here, his first string quartet, composed between 1950 and 1955, becomes a useful tool to illustrate how he made the transition from one musical style to another. Gerhard's first string quartet, composed between 1950 and 1955 exhibits various experimental formal procedures but is governed by a single twelve-tone row. The work is composed in the twelve-tone idiom, but nationalist elements decorate the musical surface. The first movement follows the classical model of sonata-allegro form, while mathematical proportions govern durations and formal elements in later movements. I will first investigate Gerhard's musical language and pitch material and then consider the challenges raised by implementing sonata form outside of a tonal idiom. I will then examine his unique mathematical approach to formal design in the third movement. In addition to the string quartet, I will explore Gerhard's treatment of form in such works as his Wind Quintet (1928) and Metamorphoses--Symphony no. 2 (1957-59). / text

Roberto da Sanseverino went on a pilgrimage to the Holy Land in 1458. He travelled from Venice to Jaffa on a galley and made his return, from Acre to Ancona, on a three-masted sailing ship. During both voyages he kept very accurate logs of distances, courses and wind directions. He described the sails employed for different modes of sailing and other activities pertaining to the safe operation of the vessels. These logs are contained in Sanseverino's diary of his pilgrimage and are an essential part of an original manuscript kept at the University of Bologna. This diary is the first documentation, and the only one known to exist up to this time, which presents a complete description of the methods employed by medieval shipmasters to navigate and handle their ships overlong voyages. The accuracy and reliability of the numeric data and of the other facts contained in the logs are such that, among other unusual findings, they make it possible to deter-mine the length of the Venetian sea mile, the angles of tack of medieval ships to windward and the speeds attainable under various conditions of sailing. Other original descriptions encompass the handling of ships in anchorages and some of the technical considerations that were essential to ensure ship seaworthiness under different conditions of cargo. Further reflections on all these data make it possible to arrive at certain conclusions about the economic constraints of sea ventures in different seasons of the year.

No description available.

En la década del treinta se abre un nuevo período para la literatura de Roberto Arlt. Así, puede considerarse el año 1932 como el punto clave del cambio pues constituye, en primer lugar, el momento en el que Arlt cierra el ciclo novelístico ―<i>El amor brujo</i> (1932) es su última novela publicada― y ese mismo año es también el de su ingreso a la producción dramática por impulso de Leónidas Barletta. El 3 de marzo de 1932, Arlt se integra con una adaptación de “El humillado”, fragmento de <i>Los siete locos</i>, al Teatro del Pueblo fundado por Barletta y desde entonces participa ―con algunas disidencias como se verá más adelante― en este proyecto teatral alternativo que ofrece un lugar a los dramaturgos argentinos y que ―orientado por una idea didáctica del teatro inspirada en el modelo de Romain Rolland―, intenta “realizar experiencias de teatro moderno para salvar el envilecido arte teatral y llevar a las masas el arte en general, con el objeto de propender a la elevación de nuestro pueblo”. A partir, entonces, de 1932 y hasta 1942 el escritor se orienta de lleno al teatro, a la cuentística y continúa su colaboración con las notas que desde 1928 se publican en el diario <i>El Mundo</i>. Por otra parte, en esta etapa sus obras se modifican y aparecen nuevos modos de representación que, si bien en muchos casos están en germen en los textos previos, se distancian de los que, desde los años veinte y con “Las ciencias ocultas en la ciudad de Buenos Aires” (1920), <i>El juguete rabioso</i>(1926) y <i>Los siete locos-Los lanzallamas</i> (1929-1931) Arlt venía ensayando. Lo fantástico, lo maravilloso, el relato de viajes y aventuras, el policial, y los cuentos de espionaje, son algunos de esos modos. Por lo tanto, en esta segunda etapa de su producción, la literatura de Arlt presenta una textualidad que problematiza su literatura previa y que cuestiona las afirmaciones de la crítica que se sostienen desplazando y subestimando este período en sus análisis. En este marco, las estrategias y los procesos que los textos llevan a cabo para delimitar su lugar en la literatura se modifican y reorganizan a la luz de los problemas culturales, políticos y, sobre todo, estéticos del período. Se intenta, entonces, demostrar que en los años treinta Arlt reestructura su proyecto literario, considerar las nuevas orientaciones que despliega en las ficciones, en las crónicas periodísticas y en las obras teatrales, y determinar el modo en que los textos del último Arlt introducen nuevas particularidades y establecen lineamientos distintivos en el campo cultural y literario de la época.

Diss.-- Franeker (Heinrich Brink, respondent)

Diss.-- Franeker (J. Heersma, respondent) / 2nd part has its own t.p.: Disputationis theologicae de justificationis causa formali, pars secunda. Quam Deo opt. Max. Duce sub praesidio ... Nicolai Arnoldi ... ad piam [syzētēsin] proponit Joannes Heersma. Franekerae : Ex officinâ Johannis Wellens, 1667.

Diss.-- Franeker (D. Sylvius, defendant)

Submitted by Thadyanara Wanessa Martinelli Oliveira null (thadyanara@gmail.com) on 2017-12-13T23:05:34Z No. of bitstreams: 1 A cidade delirante de Roberto Piva - THADYANARA MARTINELLI - versão correta.pdf: 740927 bytes, checksum: fec2581b8c29733b98f733c09ec0b0a8 (MD5) / Submitted by Thadyanara Wanessa Martinelli Oliveira null (thadyanara@gmail.com) on 2017-12-14T11:25:01Z No. of bitstreams: 1 A cidade delirante de Roberto Piva - THADYANARA MARTINELLI - versão correta.pdf: 740927 bytes, checksum: fec2581b8c29733b98f733c09ec0b0a8 (MD5) / Submitted by Thadyanara Wanessa Martinelli Oliveira null (thadyanara@gmail.com) on 2017-12-14T13:50:29Z No. of bitstreams: 1 A cidade delirante de Roberto Piva - THADYANARA MARTINELLI - versão correta.pdf: 740927 bytes, checksum: fec2581b8c29733b98f733c09ec0b0a8 (MD5) / Approved for entry into archive by Elza Mitiko Sato null (elzasato@ibilce.unesp.br) on 2017-12-15T11:59:43Z (GMT) No. of bitstreams: 1 oliveira_twm_me_sjrp.pdf: 740927 bytes, checksum: fec2581b8c29733b98f733c09ec0b0a8 (MD5) / Made available in DSpace on 2017-12-15T11:59:43Z (GMT). No. of bitstreams: 1 oliveira_twm_me_sjrp.pdf: 740927 bytes, checksum: fec2581b8c29733b98f733c09ec0b0a8 (MD5) Previous issue date: 2017-02-21 / Segundo Orlandi (2004), dentro do espaço urbano, no que se referem às mais variadas dimensões como a econômica, a cultural, a histórica, etc, o corpo dos sujeitos e o corpo da cidade formam uma construção única, estando os corpos de ambos atados e o destino de um não se separa do destino do outro. Sob esse aspecto, nas relações poéticas, a discussão sobre a cidade, o sujeito lírico e a modernidade é intrinsecamente ligada, já que o início do que pode ser considerado moderno está relacionado com o crescimento das grandes cidades. Essa relação entre sujeito-cidade mudou as relações sociais e, consequentemente, o fazer e o pensar a arte. Tais relações entre sujeito e cidade se acentuam na contemporaneidade, uma vez que o caos urbano se torna mais acirrado e a sensação de fragmentação dos sujeitos se aprofunda. Com base nesses pressupostos, o objetivo desta pesquisa foi empreender um estudo de quatro poemas de Roberto Piva (1937 – 2010) presentes no livro Paranoia ([1963] 2009): “A piedade”, “Poema Porrada”, “Praça da República dos meus sonhos” e “Visão de São Paulo à noite – Poema antropófago sob narcótico”. Partindo do enfoque do urbano, o intento do trabalho foi estabelecer de que forma se constrói a imagem da cidade de São Paulo nos quatro poemas supracitados. Em relação aos aspectos da modernidade lírica, algumas teorias servirão como base às análises dos poemas, como a de Paz (2012; 2014), cuja obra trata, dentre outros temas, da construção de imagens e ritmos dentro dos textos na modernidade poética, e de Friedrich (1978), que discorre sobre os aspectos negativos da lírica moderna, os quais acreditamos permanecerem na obra de Piva. / According to Orlandi (2004), the body of the individual and the ‘body’ of the city form, within urban space, one sole construction, which encompasses their economic, cultural and historical dimensions. In that sense, both types of bodies and their destinies are reciprocally linked. Since the inception of what may be considered modern is related to the growth of big urban centers, as far as poetic relations are concerned, the discussion about the city, the poetic subject and modernity are intrinsically connected. Such relationship between the self and the city has undoubtedly changed social relations and, consequently, the ways in which art is conceived and made. On the other hand, the self-city relationship has been enhanced in contemporary society due to a more acute perception of urban life as chaotic and of the individual as fragmented. These presuppositions lay the basis for the present thesis. Its objective is to examine four poems by Roberto Piva (1937-2010) published in his book Paranoia ([1963] 2009), namely, “A piedade”, “Poema Porrada”, “Praça da República dos meus sonhos” and “Visão de São Paulo à noite – Poema antropófago sob narcótico”. By focusing on the urban aspect, this thesis intends to show how the aforementioned poems representthe city of São Paulo. The aspects of modern lyricism analyzed in this thesis were examined according to Paz’s (2012; 2014) theoretical work, which concerns, amongst other themes, the composition of images and rhythms in modern lyricism. Other literature includes Friedrich (1978), which considers negative aspects of modern lyricism which we believe remain present in Piva’s work.